Film Reviews

Harry Goes Scary

As much of the civilized world now knows, the latest Harry Potter director is Alfonso Cuaron, best-known for the explicit teen sexual awakening movie Y Tu Mamá También. As such, it may come as little surprise that his Harry Potter and the Prisoner of Azkaban begins with the teenage wizard-in-training hiding under the bedsheets, whacking his wand.

The wand in this case, of course, is literally a piece of wood containing a phoenix feather. But the symbolism remains, and one gets the sense that perhaps Cuaron opens with the image as if to say, "Yeah, yeah, I know what you were thinking; now here's your joke, and let's be done with it." Few, after all, remember Cuaron's little-seen but well-reviewed A Little Princess, which makes for a far better analogy to Harry Potter, given its boarding-school setting and themes of parental loss and empowerment through fantasy.

Co-producer Chris Columbus, who directed the first two Potter films, seems to have taken it as his mandate to find a director as different from himself as possible who's still capable of working within the designated framework -- Cuaron inherits most of the actors and sets originally selected by Columbus and his crew, though the new director has changed the geography of things a bit. Both the Whomping Willow and Hagrid's hut have relocated to a mountainside, and with the unfortunate passing of Richard Harris, original Singing Detective Michael Gambon gets to be the new Albus Dumbledore. At the risk of blaspheming against the dead, Gambon's actually an improvement, playing the wizard headmaster as a more deliberately cryptic character rather than as an aging scatterbrain.

Cuaron's mandate appears to have been "Make it darker!" So tonally and visually, more darkness is what we get -- some scenes look almost like frames from a silent film. In conjunction with regular big-screen Potter adapter Steve Kloves, Cuaron has also taken more narrative liberties than Columbus did, and all of them are good, restructuring the film's chronology for increased dramatic impact; an added scene with Harry chasing an apparent phantom through pitch-black corridors at night is a standout and conveys necessary plot information more effectively than Rowling managed.

This is by far the scariest of the Harry Potter films and should not be viewed by little ones prone to nightmares. Harry runs away from home early on, is chased by an apparent werewolf, encounters talking shrunken heads (a particularly gruesome Cuaron addition), and then finally makes it safely to Hogwarts only to discover that a bunch of soul-sucking zombies called dementors have been invited to take up residence around the school, and they might just kill any student who comes near them. They've been sent from the Azkaban Prison for magical criminals in search of a recent escapee, the titular prisoner Sirius Black (Gary Oldman, shamelessly and hilariously mugging), who's expected to wreak havoc upon Harry if he ever catches up to the lad.

Right-wing nut cases who complain about Harry Potter being satanic may find some solace in the introduction of an anti-big-government theme, as we're introduced to Minister of Magic Cornelius Fudge (Robert Hardy), a bureaucrat who apparently represents witches and wizards in the U.K. Parliament, all the while enforcing stupid decisions like the dementor thing. And let's not forget that the Harry Potter books and films are all about school choice, a popular issue among vehemently churchgoing folk. There's even some Christian-style forgiveness at a key moment, but that probably won't matter to the Pat Robertson crowd.

Since every English actor working today is required to do one of these films at some point, Prisoner of Azkaban introduces Julie Christie as the Hogsmeade Innkeeper, Lenny Henry as a Jamaican-accented shrunken head, Dawn French as the Fat Lady, Emma Thompson as hippie-gypsy Professor Trelawney (she plays it too broadly, but that's a minor gripe), rodent-faced Timothy Spall in an amusingly appropriate role (to reveal here might spoil things), and David Thewlis as new Defense Against the Dark Arts Professor Remus Lupin, whose name is a bit of a giveaway when it comes to his obligatory hidden secret (fans of his work in The Island of Dr. Moreau will be particularly amused).

But there's still plenty of time for the old favorites. Robbie Coltrane is always dependable as the half-giant Hagrid, and Alan Rickman's brooding Snape is a joy once more, making even lines as simple as "Turn to page 394" drip with such overblown menace as to crack up the audience at the preview screening. As Harry's best friend, Ron, Rupert Grint has finally had his voice break, but he's not a lot of use, unless you consider infinite utterances of the word brilliant to be useful. There are hints dropped of a future potential romance with Hermione (Emma Watson), which can only be because she needs someone helpless to take care of.

As for Harry himself (Daniel Radcliffe), let's just say it's a shame that Star Wars Episode III has wrapped principal photography, because Hayden Christensen could learn a lot from young Radcliffe's portrayal of adolescent angst meeting magical fury. Unfortunately, perennial rival Draco Malfoy (Tom Felton) gets short shrift this time, losing all his menace and becoming, to put it bluntly, a whiny little bitch. Then again, the bullying Lavinia in A Little Princess barely figured in that movie either -- maybe Cuaron just can't relate to such characters.

In the Harry Potter film series thus far, The Sorcerer's Stone remains the strongest, perhaps because the first look at any rich new world is almost always going to be more groundbreaking than its sequels. But Prisoner of Azkaban is a worthy and stylistically different follow-up, whereas Chamber of Secrets often felt like an unimaginative retread.

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Luke Y. Thompson
Contact: Luke Y. Thompson